> ..the Thomas and Martha Wayne death scene cue in 'A Beautiful Lie' and the
> end of 'Black and Blue' is the first bit of film music to make me cry in a
> long while.

> For all his faults, whether you like it or not, Hans knows how to score a
> scene perfectly and extract every last bit of the emotional context out of
> a scene.

> Both those scenes were expertly cued.

> Derivative and using bits from old scores? Please..they ALL do it so I
> hardly think going on about that is worth mentioning so much.

> Sometimes, it is worth listening with your heart, not with your head.

Same here. For such a critically-panned score, once wedded to the film it's extremely effective and sometimes moving. The music and dramatic beats can be transporting once you take off your MST3K glasses.

> ..the Thomas and Martha Wayne death scene cue in 'A Beautiful Lie' and the
> end of 'Black and Blue' is the first bit of film music to make me cry in a
> long while.

> For all his faults, whether you like it or not, Hans knows how to score a
> scene perfectly and extract every last bit of the emotional context out of
> a scene.

> Both those scenes were expertly cued.

> Derivative and using bits from old scores? Please..they ALL do it so I
> hardly think going on about that is worth mentioning so much.

> Sometimes, it is worth listening with your heart, not with your head.

The death scene(s) is the only scene that has ever made me laugh, cringe, and mouth 'wtf?' It doesn't help that Snyder directed it so formulaically and Hans Zimmer composed it so formulaically, with repeated phrases getting louder on artificial instruments and a token solo singing performance. He does not know how to score a scene anymore, unless he isn't doing a blockbuster. If, as you say, he extracts every last bit of the emotional context out of the scene, that's a bad thing. He plays one good phrase and just adds layers and layers until he milks it dry.

In regards to being derivative and using bits from old scores, 'they' do not all do it, or at least not to the extent that Zimmer does it and encourages his minions to do it. Listening to Alan Silvestri's Captain America and then Van Helsing, there's obviously spectacular ingenuity to be found there that is inconsistently found in Zimmer's action blockbuster scores, as is the case with Christopher Young's Priest and Ghost Rider, Elliot Goldenthal's Final Fantasy: The Spirit Within and Heat, and Trevor Jones' Dark City and Desperate Measures. Each of these scores dabble in action-y darkness and electronic texture like Zimmer's action scores. However, they're all sooooo much better, it's astonishing that most of them were made decades prior. Even Zimmer admitted to being spent of ideas during composing and that he was officially retiring from scoring superhero movies. It shows in BvS. You're pointing out the highlights when the rest of BvS is a throwaway score. Lex's theme=Sherlock Holmes, Superman's theme developed=first half of Man of Steel theme cut with The Dark Knight ferries scene, Problems Up Here=Da Vinci Code, Must There Be A Superman?=trash, Doomsday theme=trash, Batman action music=Junkie XL's Mad Max.

If action blockbuster Zimmer is supposed to be the future of film music, then film music is fucked. The scores I mentioned are so much more engaging and emotional the whole way through (not a single track is a throw away) and I highly recommend ALL of them (especially Dark City and Priest). Everyone listens with their heart. The only way BvS can be considered good is if you shut your brain off completely.